Movie City Indie Archive for February, 2013

“Bad Lip Reading” Goes Indie Spirit (2’06”)

I can imagine Tilda Swinton saying that.

Annapurna Pictures Raises A Beautiful, Declarative, Grandiloquent Middle Finger

Annapurna Pictures cuts together a brief, taut sizzle reel from its first productions, LawlessThe MasterThe GrandmasterKilling Them Softly, Zero Dark ThirtySpring Breakers, and does the litany of lines from them not sound like a bold declaration of intent? In part: “‘I’m bad news, I’m not your friend…’ ‘I knew y’all was special, it’s written on your faces…’ ‘Let’s cause some trouble now…’ ‘Don’ you ever touch me agin…’ ‘I just want to make something clear, there is nobody else, there’s just us…’  ‘Everybody’s miserable here, they just see the same things…’ ‘If we are not helping him, then it is we who have failed him…’ ‘Don’ make me laugh, I’m livin’ in America and in America you’re on your own.'” And to add one more: “Ye shall know them by their fruits.”


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Cinetic’s John Sloss On Oscar On Bloomberg (4’06”)

9 Best Drinks: RAISE ONE TO THE BEST PICTURE NOMINEES

The drinks menu at my fifth Academy Award-coinciding party (Cleo’s, 1935 W. Chicago Ave., Chicago)

A Trailer For An Issue Of A Magazine Themed To Film With “Raymondo Winstonio” (1’08”)

PORT / Issue 9 / Spring 2013 / Preview from PORT on Vimeo.

Genially, this is the equivalent of Ray Winstone binding himself in a three-piece suit and declaiming the phone book.

The Césars’ “Hommage aux disparus”: Those Who Passed In French Cinema 2012 (4’15”)

Veuillez installer Flash Player pour lire la vidéo

VICE shorts: Spencer Susser’s “I Love Sarah Jane” with Mia Wasikowski (14’39”)

“When you’re young and in love the air seems clearer, the sun seems brighter, there’s a spring in the step… But all can so easily go to shit especially with a zombie apocalypse involved.”

Bruce Willis On Oscars For Action Or Comedy

[GQ, March 2013.]

Red-Band Trailering Harmony Korine’s SPRING BREAKERS (2’04”)

The looping, fugue-style fashion of the film comes across cleanly in the compacted form of a trailer, conveniently enough. That, plus that “m” word.

Stream Shane Carruth’s UPSTREAM COLOR score

Lena Dunham: “It’s funny to me…”

[Rolling Stone Issue 1177.]

Donald Richie on AU HASARD, BALTHASAR (4’37”)

[Via Criterion.]

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Movie City Indie

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier